张大千敦煌传奇第2集

二十集电视连续剧《张大千敦煌传奇》,取材于我国著名的国画大师张大千在敦煌将近三年的时间,临摹敦煌壁画、修缮石窟前的栈道、清理流沙的真实故事。至今敦煌石窟依然保留着张大千先生当年为石窟编号的墨迹。但是,该剧重在展示敦煌,而非张大千的个人传记。作为画家的张大千,只是我们进入敦煌这个选题的一个角度。\n剧中时空定位,是以二十世纪四十年代的河西走廊,作为故事展开的背景。从张大千来到敦煌到离开敦煌,共两年有余的时间,让主人公张大千与敦煌的恩恩怨怨就此开始。全剧始于来,终于走。主要场景分为两大块儿。一大块儿是距县城有二、三十里的千佛洞,和与千佛洞紧紧相连的上、下院;一块儿是位居县城的灯红酒绿之地怡春院。构成了来世与今世、远古与现在的强烈反差;也形成了空灵与具体的强烈对比。同时将大俗与大雅共溶于一炉。又让这两个风马牛不相及的环境中的人相互纠葛在一起。 \n该剧的时代背景正是抗日战争时期。宝窟敦煌既没有必要的保护,又面临国外势力与国内的官宦与土匪勾结盗宝。年久失修的千年宝窟,一方面是已经引起了海内、外,画界、史学界、考古学界的关注;一方面是面临战乱,无人管护。也正是这个时候,张大千一行人作为中国画界临摹敦煌壁画第一人来到了这里。主人公张大千所面临着艺术与专业上的阻力,年久失色的壁画使画家不知从何处着色;加上由于石窟的规模之大,主人公张大千不得不延长在敦煌的时间。于是,又面临着经济支撑力的困境;另外,还有外界盗宝者的捣乱。来自各个方面的阻力都对主人公完成自己的欲望,达到自己的终极任务构成了威胁。而主人公为了逾越这层层阻力所做出的努力都走向了原目标的反面。在解决第一个阻力时,导致了破坏壁画的指控;解决第二个阻力时辛苦赚来的钱等于白白地给了塔尔寺,结果连自己大本营的财产也因战争的因素而付之一炬;解决第三个阻力时结果导致弟子命丧石窟、香音刚出虎口又入狼窝,自己也陷入了是盗窃还是保护者的是非与官司之中。这三重阻力相互交织,共同推动剧情向前奔跑。\n张大千在临摹壁画的同时,发生在他身边的是:断手的出现、日光菩萨的被盗、敦煌写经的悬疑;香音的身世;蔡专员的幕后;罗画匠的背后;胡宗南部与马家军争夺西北地区控制权的大背景、自己也被动地陷入了是破坏?还是保护的官司之中。\n张大千一行人起初准备用三个月的时间以完成对敦煌壁画的临摹;到了目的地以后发现工程之浩大,于是担心半年的时间都不够;结果是前后用了两年尚有余。\n面对艰苦的生活与复杂的局势,是走?还是留?走,如何面对自己的初衷;留,怎样处理来自各方面的压力。在张大千和于右任等人的呼吁下,敦煌研究所成立了。张大千作为研究所筹备委员会的成员之一,直到第一任所长常书鸿的到来以后,自己才离开了敦煌。\n该剧还通过李丁陇、香音、俞丽娜、柯远、何飞、等一批虚构的人物,从另一个方面揭示了二十世纪上半叶的中国知识分子的风貌。柯远与辛杰、何飞三个人一起构成了大风堂弟子的三套车。而且各自的性格与行为方式都有很大的区别。香音作为一个上海美专的学生来到敦煌,结果成为土匪的压寨夫人,又沦落到怡春院成为妓女。由于张大千一行人的到来,柯远的出现改变了香音的命运。
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